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These techniques are sensitive to edges in the video image and work to reduce the suddenness of the transition This makes pixels on either side of the edge more like each other Compression algorithms tend to work best when neighboring pixels are similar Other image detail reduction techniques can often yield good results prior to compression Pixels may be quantized differently in a process called posterization This reduces the range of colors in the image and so provides less challenge to the streaming media encoder, at the expense of introducing visible contours in the image Colors in the image can also be corrected to conform to the nearest web-safe colors, which can be a consideration for some streaming media players launched from browsers By choosing the nearest web-safe color from the palette, the ultimate appearance of the streamed images can at least be judged at the encoding stage.

Define the Appropriate Degrees of Collaboration (i.e., Segment)

Compression techniques also work best when there is no extraneous motion to encode For this reason, motion jitter introduced by a telecine process (film weave, for example) or by camera shake can cause the video compression algorithm to spend unnecessary payload bits and encoder computation cycles representing motion that is of no interest to the viewer Image stabilization algorithms can be used to resynthesize video frames, in order to reduce this unwanted motion jitter A number of manufacturers like discreet (wwwdiscreetcom) and Quantel (wwwquantelcom) make commercial systems that can take motion jitter out of a video sequence, either fully automatically, or else with some human intervention to nominate anchor points They are typically very expensive devices When film from archives must be encoded for streaming, a number of mechanical and digital film restoration techniques can help produce better encoding efficiency.

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come from real estate was down 1 percent from the level in the third quarter of 2001. What is WRE s growth potential We compared information from two Web sites, Multex Investor and Yahoo Finance, to find analyst consensus growth estimates. Multex polled four analysts and found an average growth rate of 5.5 percent, with a high rate of 8 percent and a low of 3 percent. Yahoo Finance had a consensus analyst expectation of EPS growth of 8 percent over the next five years. Zacks polled the eight analysts that cover WRE. One rated it a buy, six rated it a hold, and one rated it a strong sell. For our valuation of WRE, we used a 5.5-percent growth rate. The growth rate of WRE has been decelerating, particularly in 2002. We think that a 5.5-percent rate is in line with the probable growth in the

Scratches on the film can be automatically recog-.

A world in which your company is tightly linked to all its supply chain partners customers and suppliers alike is highly appealing but virtually impossible and not likely to be very cost-effective. Intensive collaboration is complicated, challenging, and costly, requiring a major investment in resources, processes, and systems. Moreover, not all customers are equally profitable and not all suppliers are equally valuable. And many potential partners may not be capable or even willing to support the level of collaboration you want. Therefore it makes sense to segment your partners before embarking on a collaboration program much like marketing professionals segment their target customers.

nized and removed Color variations over successive frames due to age can be automatically corrected Film grain can be filtered out Missing frames can be resynthesized from available adjacent frames The weave of the film as it passes through the film scanner can be compensated There are specialist companies, like Rank Cinetel and Digital Vision, which provide high quality digital film restoration solutions to perform these enhancements Once again, for streaming media applications, the cost is only justified if the streaming media asset will attract a large audience or generate significant revenues Sometimes the restoration process serves to renew the copyright on expired works, allowing the copyright owner to extend their monopoly franchise over what they feel to be a valuable media property This is because extensively remastered works can count as new works.

EXHIBIT 8-26

The process of sweetening is not only to make things look better or encode more efficiently, but it can be a way to extend copyright protection The final resort, when the material is important but damaged beyond the capabilities of image restoration software, and it positively must be encoded for streaming media regardless of cost, is to retouch or repaint video frames by hand, one-by-one This is painstaking and labor-intensive work, but sometimes necessary Packages like Adobe After Effects can be used as a tool for frame retouching and repainting If original sources are still available, but the edited archived piece is badly degraded (as when film stock is used to create an edited program that was conformed to video tape, for example), it may be possible to autoconform the program from original sources and the original edit decisions.

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